Slideshare uses cookies to improve functionality and performance, and to provide you with relevant advertising. If you continue browsing the site, you agree to the use of cookies on this website. See our User Agreement and Privacy Policy.

Slideshare uses cookies to improve functionality and performance, and to provide you with relevant advertising. If you continue browsing the site, you agree to the use of cookies on this website. See our Privacy Policy and User Agreement for details.

Im Thinking With Sand Here: Bubba Ho Tep

4.
Comedy <ul><li>It permits saying things that are otherwise not permissible. </li></ul><ul><li>&quot;in any other social context it would express and arouse hostility&quot; </li></ul><ul><li>Jerry Palmer. Taking Humour Seriously </li></ul>

5.
Comedy <ul><li>Comedy expresses ambivalence about the social system. </li></ul>

6.
Comedy <ul><li>The figure of the fool or clown </li></ul><ul><ul><ul><li>the actions of the fool are understood in a specific way </li></ul></ul></ul><ul><ul><ul><li>special permission or a sacred place for the reversal of norms </li></ul></ul></ul>

9.
Intertextuality <ul><li>Intertextuality ripe for comedy, because it may undercut established norms of genres, narratives and more. </li></ul>

10.
Intertextuality <ul><li>Intertextuaity connects to the social interaction of comedy </li></ul><ul><ul><li>establishes inclusion/exclusion which is important for cult films </li></ul></ul>

12.
Cult Films <ul><li>” Cult films are those which are deemed to offer something beyond the mainstream usual and they frequently trade on the power of transgression.” </li></ul><ul><li>(Tanya Krzywinska) </li></ul>

14.
Cult Films <ul><li>”… films become ’cult’ only in circulation; the term identifies a text whose life is perpetuated by a spectatorship. ’Cult’, therefore, is a status, not a description.” </li></ul><ul><li>(C. Paul Sellors) </li></ul>

15.
Cult Films <ul><li>” Hence, to say that [a film] is a cult film is to say that it attaches to it a sense of the sacred, the awful.” </li></ul><ul><li>(Michael Grant) </li></ul>

16.
Cult Films <ul><li>” Entertaining a cult film means, for at least an instant, turning your back on seemly or fitting cinema.” </li></ul><ul><li>(Jonathan L. Crane) </li></ul>

19.
Cult Films <ul><li>” The cult film has most often been defined in two ways: as any picture that is seen repeatedly by a devoted audience, and as a deviant or radically different picture, embraced by a deviant audience.” </li></ul><ul><li>Bruce Kawin (“After Midnight”) </li></ul>

20.
Cult Films <ul><li>” There are, then, at least two broad categories of the cult film, both of which invite us to go walking after midnight . The first might be called inadvertent, the second programmatic.” </li></ul><ul><li>Bruce Kawin (“After Midnight”) </li></ul>

22.
Cult Films <ul><li>“ It must provide a completely furnished world so that its fans can quote characters and episodes as if they were aspects of the fan’s private sectarian world…” </li></ul><ul><li>Umberto Eco (“ Casablanca : </li></ul><ul><li>Cult Movies and Intertextual Collage”) </li></ul>

25.
Cult Films <ul><li>“ I think that in order to transform a work into a cult object one must be able to break, dislocate, unhinge it so that one can remember only parts of it, irrespective of their original relationship with the whole.” </li></ul><ul><li>Umberto Eco (“ Casablanca : </li></ul><ul><li>Cult Movies and Intertextual Collage”) </li></ul>

26.
Cult Films <ul><li>“ It should display not one central idea but many. It should not reveal a coherent philosophy of composition. It must live on, and because of, its glorious ricketiness.” </li></ul><ul><li>Umberto Eco (“ Casablanca : </li></ul><ul><li>Cult Movies and Intertextual Collage”) </li></ul>

34.
Cult Films <ul><li>”… it is very difficult to think of the cult film outside of the cult film experience .” </li></ul><ul><li>J.P. Telotte (“Beyond All Reason: </li></ul><ul><li>The Nature of the Cult”) </li></ul>